The Living Wake

The Social Network's Jesse Eisenberg stars as the sidekick to a man planning his own funeral in this quirky indie film from a bunch of guys at Funny Or Die. Mike O'Connell co-writes and also stars as the dying man in question who, along with Eisenberg, spends a busy day prepping, settling scores and generally causing havoc in a small town with his oddly 19th century manner of speaking and demeanor. It grows tired quickly, as do the clunky, faux-Wes Anderson deadpan gags, but it ties together nicely by the bittersweet end. (available Aug. 3)

Special Features: none

Repo Men

In a not-so-distant future run by greedy and evil HMOs that sucker those in need of an organ transplant into hopeless debt just for the right to live — again, not-so-distant future — one "repo man" (the guys charged with collecting on unpaid debt in bloody ways), played by Jude Law, dares to question his employer's values and his own way of life. The solid, fast-paced action comes to a head with a nice bit of social commentary (it's the suit-wearing execs you have to watch out for) and an orgy of blood and guts that makes for the tongue-in-cheek sex scene since Watchmen. (Only it's actually sexy.) (available now)

Special Features: deleted scenes, commentary, featurettes


Never mind the cutesy backyard hobbyists — the "farmer" label is one to be earned through backbreaking labor, selfless devotion and all-around badassedness. The shepherds on display in this meditative look at a Montana herd drive toward the Absaroka-Beartooth mountains' summer grass are the real deal. In this no-frills documentary, a few sheep ranchers, along with a couple of dogs and horses, tame about 3,000 sheep, countless hills and valleys, bears, fatigue and "ornery" sheep — all of whom they've helped give birth to and feed. The first hour, featuring precious little but the sound of bleating, is a tough one but it pays off immeasurably once the big, sweeping picture comes into full view. (available Aug. 3)

Special Features: commentary, additional scenes, photo gallery, essay by film critic Robert Koehler

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